By Madeleine Cravens

I worry what it says about my character,
that I cannot picture the reality of sickness,
I just wake and read Whitman
and watch the sun on the brick 
of the next-door apartment.
I have three cans of chickpeas,
freezer-burned strawberries,
half a bottle of wine. You have
a stronger sense of the anthropocene. 
You buy soup, talk with your father. 
You know microbes are alive 
as they move across the grid.
And in France each small town 
has a street named for Pasteur, 
who made men dig drains,
convinced them to stop spitting.
I wash my hands with hot water.
I don’t want to be clean. What does it say
that I am fully on my knees to this,
that I admit such weakness willingly,
that should you want company 
after any of your transatlantic flights
I would take a cab immediately
to your red and burning door. 

By Gail Martin

Featured Art: Cicadas by Scott Brooks and Wendy Minor Viny

Real life was finally about to begin.

Remember the romance of the silver cigarette case

in college? The integrity of your firstborn’s eyelashes?

We discarded alternate destinies like tired cards

in the Flinch deck.  We were only looking forward.

Of course, like the teeth of beavers and horses, there

are parts of the past that never stop growing.

Garage – tree house – vacant lot kinds of cruelty–

how we took turns being mean.

And later, some serrated evenings, dinners

of bluster and recoil, dodge. Flowers sent

or not sent to someone’s funeral.

Mostly there are the years you watch

your neighbors’ cars slide in and out of their garage.

Between blue herons and tumors, you change

the sheets.

We were all surprised to find ourselves old

but really the signs were everywhere, and we

acknowledge we’d been told. Name one

important thing that has not already happened.

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By Jeff Tigchelaar 

Featured Art: Atlas the Pup by Troy Goins and Mallory Valentour

College is for people who think

they’re too good to work.

Don’t get me wrong: I’m fine

with a little college, as long as it’s

in a Lego set, like.

But the kind with full-size

buildings and professors . . .

that right there’s a different sack of bait.

But you know what? Life’s like a dogsled team.

Unless you’re in the lead, the scene don’t change.

All those pups, yipping and chomping

to get ahead and be up front . . . but

the top dog’s been chosen from the start.

And that one mutt might not have to

have his nose up the asshole in front of him,

but guess what he’s got right behind him. A dog.

And another dog, and another and another. A whole

damn pack, and a few feet back there’s a sled

and you know who’s standing on that sled?

The man.

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By Shelagh Connor Shapiro

Featured Art: Birds by Jonathan Salzman and Tibetan Monks visiting Passion Works Studio

Ohio 

We sit in the car, my mother and I, outside a large white barn with black trim. It’s a pretty barn—less than a mile from our home—and my sister Maura keeps her horse here. The horse is Culotte. His previous owner called him “Just Cool It,” but Dad said that was too much of a hippy name. He is a proud Republican. During the last election, I picked up one of the dropped campaign buttons outside the voting booths. You aren’t allowed to wear the buttons inside. The vote is private, sacrosanct. 

We have stopped, as we do each morning, for Maura to feed Culotte. In March 1972, I am nine. In five minutes or ten minutes, when Maura comes back to the car, Mom will drive me to the William E. Miller Elementary School. She will drive Maura to the parking lot of the A&P, where Mrs. Besaunceny and three other students meet every day to drive to Columbus School for Girls, an hour away. CSG has no room for me in the fourth grade class. I’ll join the fifth graders next year. 

Our breath is frosty in the car. I ask my mother to repeat her question.

“If your Dad and I ever got a divorce, who would you want to live with?”

By Sara Moore Wagner

Featured Art: Floating Guy, collaboration between Passion Works Studio (Athens, Ohio) and Colores del Alma (Chile)

When I used to read my son the book
where the outcast girl becomes friends
with the alligator, where they dance
in the sewer to the burt-burp of her
tuba, I would imagine he was the gator,
that one day he might find someone
to teach him not to put everything
in his mouth, to go into the water
where he’s meant to return—when
I read my daughter that book, suddenly
I see the girl, tiny soft body in the mouth
of the gator, being pulled down into the
swamp with her tuba blaring. And
the story has always been about this gator,
how he’s not meant to live in regular
society, how neither is the girl so they
find each other and even though he eats
all the local dogs, he leaves her alone
and she saves him. When I am walking
with my daughter downtown, a man
comes up to me and moves his hands
around in my face, gestures at
my daughter until I’m lying
on the sidewalk with my arms around her,
folding her into me like a pair of socks
in a suitcase, like a lolling tongue into
a mouth. And I’m yelling at the construction
workers come help me—and they do,
rushing out in their orange vests. And I think
in that book, these would have been the villains;
in that book, my girl would have risen and danced
for the man who wanted to pull her out of me
like a tooth, would have shown him how to live
in the civilized world, how to cover
his fangs, let them out at night when the slow
lull of the Ohio river takes them so far away
from her home, from her mother that he
thinks about his nature. How even this
little make believe world wasn’t built
for the girl. How even still, it’s my girl’s favorite
book. How even still, I read it.